[Statement]

Abstracted organic forms have long been an expressive vehicle in the visual arts. Perhaps as stand-ins for individuality they can float, push, agglomerate  inviting a host of metaphoric meanings. Their grouping may be orderly, as in the series ‘The Attributes of Love’, or random, as in the series ‘Stories from Long Ago’ and ‘The Principle of Complementarity’.

For these and other reasons I have found organic forms to be a great way to explore notions of complexity, chaos and order, of particulates and fields, or in their interactions, notions of power and vulnerability.

Devoid of organic forms order and complexity are also the themes of the series, ‘How Far Can You See’ and ‘Storm after the Calm’). 

The third strand that runs through my work is the idea of repetition of forms which stems from the possibility of the coexistence of opposites: for example, that while two people are virtually identical to each other in many ways -they both have faces with two eyes, a nose, a mouth, etc- they are, at the same time, completely different from each other. 

This idea has interested me since my Science studies where I was introduced to the Principle of Complementarity. It states that sub-atomic particles sometimes behave as particles and ,some other times they behave as waves. This can be generalized to the notion that something can, simultaneously, be two completely different  and sometimes contradictory,  things. It is an idea that underlies the creative process which is characterized by the discovery of similarity among opposites. It is also the basis of complex truths; it invites nuance and deliberate considerations of any subject one may be trying to understand.

 Repetition of form -differences within similarity—is ubiquitous in my work and is clearly represented in the ‘Principle of Complementarity’ series #1’ and in  ‘Principle of Complementarity #2